Pop & Rock Vinyl New Releases - News

See the World, the new release from top Russian reggae don Steppa Style is one of Russia's best exports of 2014, without question. Throughout the LP's 18 tracks, Steppa inflicts bass heavy riddims laced with messages of positivity - nothing but good vibes from this one! This is the kind of album that puts a smile on your face and a bounce in your step. Track to track, Steppa shows he's done his homework when it comes to reggae legends, paying subtle lyrical homage to some of the greats such as Bob Marley and Yellowman. Along with Steppa's own signature style, See the World includes plenty of collaborations with current rising stars and established artists such as Skarra Mucci, Kris Kelli, Solo Banton and Deadly Hunta.

01 What a Life
02 Running Wave
03 Inna Disya Time (feat. Skarra Mucci)
04 Jungle Rebel
05 Digital (feat. Solo Banton)
06 Unity
07 Work Hard (feat. Deadly Hunta)
08 Sweet Love
09 See the World
10 Food of Love
11 My Time (feat. Kriss Kelly)
12 Gunman
13 Original Steppa
14 Instagram
15 Shout It Loud
16 Call Pon Me Phone
17 No Sound
18 Nice Up

Keath Mead would like to invite you to Sunday Dinner. The 25-year-old South Carolina native's debut album is as pleasurable as a drive along the coast, as comforting as a day out with friends, and as sweet as pie after lunch. Steeped in the classic sounds of '60s and '70s pop singer-songwriters, Mead is just as influenced by contemporary artists such as The Shins' James Mercer and Jack White. 'Waiting' opens the record with a warm bed of synths and Mead sings, 'One day you're gonna land/ in a place that you never planned/ in your life to see.' An optimistic song about potential Maybe. But it's definitely a song about regret. Mead has that timeless ability to make songs that seem to say one thing, but move us to feel many things. With Sunday Dinner, Mead aspired to achieve a songwriting ideal: 'If a song doesn't hold up with one person singing and playing a single instrument, then it's probably not that good of a song,' he says.
The album was recorded in only eight daysover the span of nine months—with the help of Chaz Bundick (Toro Y Moi, Les Sins). Bundick hosted Mead in his Berkeley, Calif., home studio for the recording. Mead's guitar and vocal tracks came first, then Bundick on bass, before the pair took turns on drums and synthesizers. The collaborative process lent an improvisational aspect to the album, with the pair playing music until they found a passage they both liked. The live playing and 'happy accidents' of the recording process add to the easy-going vibe of the LP.
Though recording the album was relatively short, the songs were written over three years. The primary theme of the record is the anxiety induced by the rapid changes brought on by coming of age. Mead also contemplates isolation, loss of innocence, and angst associated with maturation.

Keath Mead would like to invite you to Sunday Dinner. The 25-year-old South Carolina native's debut album is as pleasurable as a drive along the coast, as comforting as a day out with friends, and as sweet as pie after lunch. Steeped in the classic sounds of '60s and '70s pop singer-songwriters, Mead is just as influenced by contemporary artists such as The Shins' James Mercer and Jack White. 'Waiting' opens the record with a warm bed of synths and Mead sings, 'One day you're gonna land/ in a place that you never planned/ in your life to see.' An optimistic song about potential Maybe. But it's definitely a song about regret. Mead has that timeless ability to make songs that seem to say one thing, but move us to feel many things. With Sunday Dinner, Mead aspired to achieve a songwriting ideal: 'If a song doesn't hold up with one person singing and playing a single instrument, then it's probably not that good of a song,' he says.
The album was recorded in only eight daysover the span of nine months—with the help of Chaz Bundick (Toro Y Moi, Les Sins). Bundick hosted Mead in his Berkeley, Calif., home studio for the recording. Mead's guitar and vocal tracks came first, then Bundick on bass, before the pair took turns on drums and synthesizers. The collaborative process lent an improvisational aspect to the album, with the pair playing music until they found a passage they both liked. The live playing and 'happy accidents' of the recording process add to the easy-going vibe of the LP.
Though recording the album was relatively short, the songs were written over three years. The primary theme of the record is the anxiety induced by the rapid changes brought on by coming of age. Mead also contemplates isolation, loss of innocence, and angst associated with maturation.

01. Waiting
02. Grow Up
03. She Had
04. Change
05. Settle For Less
06. Holiday
07. Where I Wanna Be
08. Quiet Room
09. Navy
10. Polite Refusal
11. So Close

Composer, conductor, arranger, and musician Les Baxter is fondly remembered as one of the forefathers of the 1950s Exotica sound, alongside other luminaries such as Lyman, Denny, and Esquivel. 1959's African Jazz is one of his most renowned and sought after titles, at times moody and dark, at others light and whimsical, sometimes within the same song. Quintessential mood music from the master himself.

We're glad to announce the reissue of this gem by the Library 'cult' group I MARC 4.
ORIGINALLY RELEASED Oct 1970 on NELSON RECORDS label, cat#. GLP 1004, Italy. Ed. "Scogliera".
Probably the toughest and most Psychedelic Nelson volume by the Marc 4. Killer blend of Downtempo Funk, atmospherics, and Lounge Bossa/Cocktail. Contains fantastic tracks as "Distorsion-Mind" and "The Trip", heavy Psych with screaming organ, and "Compression", mellow laid back acoustic guitar with the fat raw Drums Break plus other rare and raw tracks with sounds samples and loops. Great sessions!

ORKA is a Faroese act based in London. When ORKA started they began with building their own instruments out of agricultural tools on a small farm on the Faroe Islands. ORKA has since then played venues and festivals all over the world and done collaborations with a number of prominent acts including LV (Hyperdub, Keysound), Yann Tiersen, and Ólafur Björn Ólafsson (Sigur Rós). Now ORKA is ready with their 4th full-length album LEIPZIG. The bulk of the album was recorded at UT Connewitz, a spectacular and worn down pre-war cinema in the heart of Leipzig, Germany, together with Oktopus (Dälek), Ólavur Jákupsson, and HOGNI. Other recordings were done on tour in Paris, New York, a small church in Sibrandahûs, Netherlands, a boat in Hong Kong and a train terminal in Bombay. The album was then finalised and patched together in ORKA's and co-producers LV's London studios, and it features vocals by Greta Svabo Bech (Deadmau5) and Teitur among others. On LEIPZIG ORKA's trademark custom instruments and dark sound are fused with sedated resounds from UK Bass and LA Beat topped with icy North Atlantic vocals. ORKA call it Club Gaze. If compared to other artists, you could say that the album sounds like J Dilla's Donuts if it was produced by Burial, with the Nordic melodic sensibility of Sigur Rós, and performed by Faust."

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Rainbow, formed by Deep Purple's guitarist Ritchie Blackmore their first album Ritchie Blackmore's Rainbow recorded in Germany was released in August 1975.

Rising' their second album was released the following year with a further 5 studio albums and the live album On Stage' released before the band split in 1984.

USM are pleased to announce the release of The Polydor Years' a vinyl LP boxed set containing all eight albums on 24th November 2014

One of the most seminal Japanese punk bands ever, Stalin formed in 1980 and blew away all previous attempts at Japanese punk thanks to their frontman Michiro Endo's crazy on-stage perfomances and their unique style. Even though by the release of their first LP "Trash" in 1981 Stalin moved towards a more 'hardcore/punk' direction, which resulted in what's known to be their best work - the classic 'Stop Jap' LP from 1982, Stalin's early singles are one of the best examples of what would be 15 years later defined as 'killed by death' punk rock. Originally released in 1987, the 'Stalinism' LP collected their first flexi 7", the 'Stalinism' EP, the 'Fish Inn' flexi single, along with 'Chicken Farm' their contribution to the legendary international hardcore compilation 'Welcome to 1984', to whom Stalin owe a good portion of their cult status. A great reissue for all Japanese punk fans out there.

Alogte Oho Jonas is the No. 1 gospel singer from Bolgatanga in northern Ghana. His songs are heard all over the main market of Bolgatanga through big speakers to entertain the busy life going on there. Jonas released alredy three albums by his own and is very active in getting the Bolgatanga music scene strong by working for the newly founded FRAMA, the Frafra music association.


With "Zota Yinne" he teamed up with the "Sahel Souls" to creat a strong gospel hymn with a deep carribian groove. The B-side is an istrumental by the "Sahel Souls" which just proofs that they are among the top bands playing carribean rhythms on this planet.

Started in 2013, Mollusca Vinyl is a Brooklyn based electronic reocrd label specializing in minimal style, analog laden music. Our folks believe in pushing the vinyl medium as art. This set of compositions has been described as Balearic downtempo with pastoral departures. Written while on several beaches, it suggests the definition of lackadaisical make out music, emoting euphoric post pillow talk feelings-of-the-raw through minimalist synth phrasing, ambient texturing and isolated beats. Artwork by Doroniyam at Azuri Cafe. Mastered by Jason at Transition Mastering UK. Printed at Brooklyn Phono.

EM Records drops a bomb! Released in 1979 in co-operation with legendary Philly Soul producer Louis Anthony deLise, the original 12' of J'Ouvert remains a highly sought-after underground disco classic, beloved by DJ Harvey and co. This, though, is the original mix, previously unissued, running two minutes longer, pitched and mixed quite differently to the 1979 release. Transferred from the original master tape and newly mastered.

Available on CD and LP - comes with Japanese obi strip.

Crucial recordings of the early 60's multifaceted Jamaican Music. Funny and sharp, with the catchiest tunes: this is foundation music to move your feet! Calypsos Down Jamaica Way is the significant piece to discover howJamaican music was created by the fusion of the Jamaican indigenous Mento and popular Calypso.

The album starts off with the moody instrumental tune 'Good Bye to Rome' which is perfectly harmonized by the excellent performances of Sugar Belly's bamboo sax and Charlie Organaire's harmonica and banjo. The flute freely plays to a pure Mento beat on the next number 'Go Fife Go'. The love song 'Yours' follows and Count Owen sings smoothly on 'Lawd Some Men Could A Smart' to close the A-side.

On the flip, Owen delivers the finest vocal with his specialty, Cha-Cha and Mento fusion, in 'Careless Hands'. Other songs include 'Weed', the 'Melody D'Amour' song adding a bit of European seasoning, and 'Kingston Town' describes Kingston's moody atmosphere. The Calypso style roots chanting 'Out The Fire', and a pure traditional Mento vocal on 'The Last Watch' close the album. The songs are rich in variety, and the techniques of instrument playing are fluent. All songs are presented in high quality sound with Federal's highly equipped Hi-Fi technology.

Comes with liner notes and Japanese obi strip. Available on CD and 2xLP.

Dub Store Records presents Kiddus I - Rockers: Graduation In Zion 1978-1980

Recordings by the legendary Roots singer Kiddus I, who appeared in the "Rockers" film, are released for the first time. "Rockers: Graduation in Zion" is the first release in a series of three albums that will bring to the public the majority of his existing recordings.

Kiddus I is the mysterious figure singing at the start of the film Rockers. A graduate of Ras Michael's Sons Of Negus, a key member of The Wailers milieu, and a Black Ark artist, his recordings - centred on the Roots Reggae period - are marked by the openness of their musical horizons, and a striking originality and integrity. (Also during this era he was a key voice raised in the Jamaican music industry against political oppression.)

Yet Kiddus I's disdain for careerism has held him back from the spotlight - as so many people in Jamaican music will tell you. Now, this revelatory, comprehensive retrospective will surely confirm his place amongst the all-time greats of Reggae music.

This compilation consists of every single recorded at Lee Perry's Black Ark between 1978 and 1980 and unreleased sound sources recorded at Tuff Gong. The best sessions of the most accomplished international Reggae musicians are unveiled for the first time in twenty years.

PRODUCED by: F. Dowding. ARRANGED by: F. Dowding. RECORDED at: Black Ark, Tuff Gong, Harry JStudio, Sound Dragon NY. MIXED by: Lee Perry, Dennis Thompson & Chow Chow, Stephen Stewart. ENGINEER: Lee Perry, Dennis Thompson, Mervin Morris, D. Lee. OVERDUBBED at: Aquarius Studio.

MUSICIANS: DRUMS: Carlton 'Santa' Davis, Leroy "Horsemouth" Wallace, Cornell Marshall, Oral Fabian. BASS: Robert Shakespeare , Micheal Williams, Haile Maskil, Leebert 'Gibbi' Morison, Paul Blake. GUITAR: Earl "China" Smith, Dwight Pickney, X Sweeney, Ernest Wilson. SAX: Glen Da'Costa, Cedric 'Im' Brooks. TRUMPET: Mike Hamson. PIANO: Tyrone Downie, Newton Brenor. KEYBOARDS: Leslie Butler , Earl Wire Lindo , Harvey Bernard Touter, Winston Wright, Belly Lloyd, Little D. CLAVINET: Tyrone Downie. HARMONICA: Jimmy Beeker. PERCUSSIONS: Kiddus I, I Jack. BACKING VOCALS: Kiddus I, Congos,Tyrone Downie.

12" On Split Black & White Vinyl o Limited To 1983 Copies Reissue Of Ultra-Rare 1983 Hip-Hop Masterpiece. Co-Produced & With Artwork By The Late Jean-Michel Basquiat. The original issue of the 1983 song "Beat Bop" by lyricists Rammellzee and K-Rob has been heard by many, but held by few. Only a reputed 500 of the song's initial run, on Jean-Michel Basquiat's one-off Tartown Records label, were made with jacket cover art by the infinitely influential graphic artist (and moonlighting musician and producer). They remain one of hip-hop's "Holy Grail" items, selling north of $1,500 if you can even find one. The audio, which clocked in at over 10 minutes, was issued - with no picture sleeve - on Profile Records soon after the Tartown pressings, and went on to influence countless MCs, with its minimal, languishing funk beat (produced by Basquiat) and Rammellzee's and K-Rob's next-level lyricism. The picture sleeve version of the release has never been officially re-issued, and this edition, curated by hip-hop historian Noah Uman, goes the extra mile. It features officially-licensed original artwork from the Basquiat estate and a four-panel folded insert with deep background on the original single's creation, compiled by Andrew "Noz" Nosnitsky - including interviews with many of the artists involved with its production: Rammellzee, K-Rob, Glenn O'Brien, percussionist Al Diaz, Profile's Cory Robbins and more. Rammellzee left this Earth in 2010 and Basquiat passed away in 1988 - with this deluxe reissue, their important contributions to the formative years of hip-hop on wax are remembered and celebrated. A must-own for any hip-hop purist"

Drawing from Afro house, Brazilian batucada, Shangaan electro, & Angolan house, Gabriel Cyr utilizes he skills as a globe-trotting sound recordist & DJ to stitch together a strikingly epic & original club-oriented melange.

In the 1970's in Chile, recording anything was complicated. The state-owned IRT label was administered by the military. Domestic releases gave way to an invasion of foreign music. At most, a Chilean group like Santa y su Gente (Santa and his People) could hope for one appearance on television, or a very low-key event—this was the reality of the music world after the coup. Few groups had the good fortune to overcome the prevailing censorship: this was the case with Santa y su Gente (Santa and his People). Santiago Salas was a percussionist stepped in jazz. It was he who assembled a band with musicians of the caliber of Lautaro Rosas and Mario Lecaros. The latter was a powerful musician, who would appear in other jazz fusion projects in those difficult years, and then leave Chile together to do an impressive job abroad with his group Comet. The one and only album by Santa y su Gente, 'Urgente,' was released by RCA/IRT/Alba in 1974. This album is very rare, and therefore not well known apart from the collections of a few dj's. But it contains all you can ask for—a scintillating brew of Latin Afro-jazz fusion, with something powerful to say and beats galore. Highly recommended! Comes with a bi-lingual insert which explores the story of Santa y su Gente in the context of the rich Chilean rock music scene.
Side A:

01 La muñeca (The Doll) 2:58
02 Murumba 2:29
03 Los amantes del Sol (Lovers of the Sun) 2:51
04 El salero (The Salt) 3:44
05 Colores (Colors) 2:48
06 Niebla (Fog) 2:34



Side B:
01 Pájaros en el jardín (Birds in the Garden) 4:01
02 Barco camaronero (Shrimp Boat) 2:16
03 Triángulo español (Spanish Triangle) 4:16
04 Soñando (Dreaming) 3:57
05 Una nueva vida (A New Life) 4:31

2014 jährt sich die Veröffentlichung von Do They Know It's Christmas, dem legendären Hit, den Sir Bob Geldof und Midge Ure 1984 geschrieben haben, um Geld für die Opfer der Hungersnot in Äthiopien zu sammeln, zum dreißigsten Mal.
Leider ist auch 30 Jahre später die Not in Teilen des afrikanischen Kontinentes groß. Vor allem die derzeitige Ebola-Katastrophe gefährdet das Leben Zehntausender und droht hunderttausende Menschen noch weiter in Armut und Verzweiflung zu stürzen. Die Seuche übersteigt bei weitem die Möglichkeit der betroffenen Länder, die internationale Hilfe rollt nur langsam an.
Um die Seuche und ihre Folgen schneller, unbürokratisch und nachhaltig bekämpfen zu können, hat sich Bob Geldof zu einer Neuauflage von Band Aid entschlossen. In England ist eine Neueinspielung der Benefiz-Single Do They Know It's Christmas unter Mitwirkung vieler Stars erschienen. Um noch mehr Aufmerksamkeit auf die katastrophale Situation zu lenken, wird das Projekt erstmalig parallel auch in Deutschland und Frankreich stattfinden und von einer Großzahl namhafter nationaler Künstler unterstützt - von denen einige im Jahr 1984, als die Band Aid Single veröffentlicht wurde, noch nicht einmal geboren waren.

#BandAid30 Germany Do They Know It's Christmas wurde in Berlin aufgenommen. Für die deutsche Version haben Campino, Marteria, Thees Uhlmann und der Textdichter Sebastian Wehlings einen neuen Text geschrieben. Als Sänger und Rapper wirken die folgenden Künstler daran mit: 2raumwohnung, Adel Tawil, Andreas Bourani, Anna Loos, CRO, Clueso, Die Toten Hosen, Donots, Gentleman, Ina Müller, Jan Delay, Jan-Josef Liefers, Jennifer Rostock, Joy Denalane, Marteria, Max Herre, Max Raabe, Michi Beck (Die Fantastische Vier), Milky Chance, Patrice, Peter Maffay, Philipp Poisel, Sammy Amara (Broilers), SEEED, Silbermond, Sportfreunde Stiller, Thees Uhlmann, Udo Lindenberg, Wolfgang Niedecken. Produziert wurde die deutsche Version von Vincent Sorg (u.a. - Ballast der Republik' von den Toten Hosen) und Tobias Kuhn. Das Video drehte der bekannte Musikfotograf und -regisseur Paul Ripke.

Die Betreuung der Veröffentlichung hat Universal Music übernommen, die wie alle Mitwirkenden unentgeltlich an dem Projekt arbeiten. Auch alle Künstler wirken unentgeltlich mit! Sämtliche Gewinne, die Universal Music mit dem Verkauf des Songs erzielt, kommen dem Band Aid Trust zur Bekämpfung der Ebola-Katastrophe in den betroffenen Ländern zu Gute. Über die Verwendung der Einnahmen aus dem Verkauf von Single entscheidet, wie schon bisher bei solchen Aktionen, der Band Aid Trust. In der Vergangenheit arbeitete der Band Aid Trust mit und vergab Gelder an Organisationen wie Oxfam, UNICEF, Care International, World Food Programme, Wateraid und viele andere.

Neben der Bekämpfung des akuten Ausbruchs der Krankheit ist ein Anliegen aller Beteiligten die Entwicklung eines Impfstoffes, der Aufbau einer besseren medizinischen Versorgung in den betroffenen Ländern und das Bemühen, das Thema in den Industrieländern auch auf der Tagesordnung zu halten, wenn die aktuelle Krise einmal überstanden sein sollte.

2014 jährt sich die Veröffentlichung von Do They Know It's Christmas, dem legendären Hit, den Sir Bob Geldof und Midge Ure 1984 geschrieben haben, um Geld für die Opfer der Hungersnot in Äthiopien zu sammeln, zum dreißigsten Mal. Leider ist auch 30 Jahre später die Not in Teilen des afrikanischen Kontinentes groß. Vor allem die derzeitige Ebola-Katastrophe gefährdet das Leben Zehntausender und droht hunderttausende Menschen noch weiter in Armut und Verzweiflung zu stürzen. Die Seuche übersteigt bei weitem die Möglichkeit der betroffenen Länder, die internationale Hilfe rollt nur langsam an.

Um die Seuche und ihre Folgen schneller, unbürokratisch und nachhaltig bekämpfen zu können, hat sich Bob Geldof zu einer Neuauflage von Band Aid entschlossen. In England ist eine Neueinspielung der Benefiz-Single Do They Know It's Christmas unter Mitwirkung vieler Stars erschienen. Um noch mehr Aufmerksamkeit auf die katastrophale Situation zu lenken, wird das Projekt erstmalig parallel auch in Deutschland und Frankreich stattfinden und von einer Großzahl namhafter nationaler Künstler unterstützt - von denen einige im Jahr 1984, als die Band Aid Single veröffentlicht wurde, noch nicht einmal geboren waren.

#BandAid30 Germany Do They Know It's Christmas wurde in Berlin aufgenommen. Für die deutsche Version haben Campino, Marteria, Thees Uhlmann und der Textdichter Sebastian Wehlings einen neuen Text geschrieben. Als Sänger und Rapper wirken die folgenden Künstler daran mit:
2raumwohnung, Adel Tawil, Andreas Bourani, Anna Loos, CRO, Clueso, Die Toten Hosen, Donots, Gentleman, Ina Müller, Jan Delay, Jan-Josef Liefers, Jennifer Rostock, Joy Denalane, Marteria, Max Herre, Max Raabe, Michi Beck (Die Fantastische Vier), Milky Chance, Patrice, Peter Maffay, Philipp Poisel, Sammy Amara (Broilers), SEEED, Silbermond, Sportfreunde Stiller, Thees Uhlmann, Udo Lindenberg, Wolfgang Niedecken. Produziert wurde die deutsche Version von Vincent Sorg (u.a. - Ballast der Republik' von den Toten Hosen) und Tobias Kuhn. Das Video drehte der bekannte Musikfotograf und -regisseur Paul Ripke.

Die Betreuung der Veröffentlichung hat Universal Music übernommen, die wie alle Mitwirkenden unentgeltlich an dem Projekt arbeiten. Auch alle Künstler wirken unentgeltlich mit! Sämtliche Gewinne, die Universal Music mit dem Verkauf des Songs erzielt, kommen dem Band Aid Trust zur Bekämpfung der Ebola-Katastrophe in den betroffenen Ländern zu Gute. Über die Verwendung der Einnahmen aus dem Verkauf von Single entscheidet, wie schon bisher bei solchen Aktionen, der Band Aid Trust. In der Vergangenheit arbeitete der Band Aid Trust mit und vergab Gelder an Organisationen wie Oxfam, UNICEF, Care International, World Food Programme, Wateraid und viele andere.
Neben der Bekämpfung des akuten Ausbruchs der Krankheit ist ein Anliegen aller Beteiligten die Entwicklung eines Impfstoffes, der Aufbau einer besseren medizinischen Versorgung in den betroffenen Ländern und das Bemühen, das Thema in den Industrieländern auch auf der Tagesordnung zu halten, wenn die aktuelle Krise einmal überstanden sein sollte.



[C] 03. Do They Know It's Christmas 2004 Version - Band Aid 20 [D] 04. Do They Know It's Christmas 1989 Version - Band Aid Ii

Sure to be a stocking stuffer and must have for any collector. Luaka Bop present Three! massive Box sets collecting the entirety of William Onyeabor's elusive musical career.

William Onyeabor is a box set of five of the albums elusive Nigerian synth-funk pioneer
William Onyeabor self-released between 1977 and 1985 — remastered and officially available
for the first time. His music represents the epitome of the golden era of Nigerian funk,
before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed
compilation Who is William Onyeabor's in October of 2013, and has since seen the release of the documentary
Fantastic Man, which was fabricated around the myth of the musician, attempts to unearth the man
behind the music, which is also now a full blown live show touring the world, paying tribute to the
music of William Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from
Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane.
To this day, William Onyeabor has not spoken about his music in one single interview.

CONTENTS
- 5031 Crashes In Love (Original Version)
- 5033 Atomic Bomb
- 5034 Tomorrow
- 5036 Great Lover
- 5038 Anything You Sow
- 45' of William Onyeabor's 'Atomic Bomb', edit by Zach Cowie & Sunny Levine / 'Love Me Now' by Axel Boman, Petter Nordkvist & Johan Jonason
- 16 page 5' x 7' Booklet by chris abani
- 8 page 12' x 12' Booklet
- vintage wilfilms ad

'Onyeabor mostly sounds like nobody else on the planet.' - Time Magazine

'So brilliant and magical... I wish I could make music like him.' - Damon Albarn

'So great!' -Mick Jagger

'...ridiculous!' - Gilles Peterson

Sure to be a stocking stuffer and must have for any collector. Luaka Bop present Three! massive Box sets collecting the entirety of William Onyeabor's elusive musical career.

William Onyeabor is a box set of four of the albums elusive Nigerian synth-funk pioneer William Onyeabor self-released between 1977 and 1985 — remastered and officially available for the first time. His music represents the epitome of the golden era of Nigerian funk, before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed compilation Who is William Onyeabor's in October of 2013, and has since seen the release of the documentary Fantastic Man, which was fabricated around the myth of the musician, attempts to unearth the man behind the music, which is also now a full blown live show touring the world, paying tribute to the music of William Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane. To this day, William Onyeabor has not spoken about his music in one single interview.

- 5037 Hypertension
- 5035 Body & Soul
- 5032 Crashes In Love (2nd Version)
- 5030 Good Name
- 45' of William Onyeabor's 'Body & Soul' by Peaking Lights
- Poster
- 16 page 5' x 7' booklet by Michael Rubin

'Onyeabor mostly sounds like nobody else on the planet.' - Time Magazine

'So brilliant and magical... I wish I could make music like him.' - Damon Albarn

'So great!' -Mick Jagger

'...ridiculous!' - Gilles Peterson

Originally recorded for the EMI Nigeria label and produced by legendary producer Odion Iruoje 'Keyboard' was a one-off studio project formed by Brodricks Majuwa and Isaac Digha from circa 1978. These two session men were often used at the EMI studio and played in multiple recordings that Iruoje produced throughout the era

This extremely scarce and obscure record features amongst others Ignace de Souza of the Black Santiagos from the city of Cotonou, Benin and Jonni Wood from the band SJOB movement.

Lilting, laid-back, solid, soul-funk grooves and beautiful horn arrangements with synth effects combine for a unique sound but one that is unmistakably from the sound forge of Odion Iruoje and his two front-line studio engineers Emmanuel Odenusi and Kayode Salami. The album is licensed directly from Broderick Majuwa (hailing originally from the Delta region of central southern Nigeria) who played with many bands in the 1970s: starting out with The Severe 7 (a Santana-influenced rock band from Benin City) followed by The Thermometers with Emma Dorgu who cut one 45 for Afrodisia records. Later on he had stints with more famous Nigerian artists Ebenezer Obey and Bongos Ikwue amongst others. The LP is released again after 35 years and strictly limited to only 1000 vinyl copies.

A little less then three years ago the political situation in many countries of the Arab world changed dramatically. Uprisings started in rural areas of Tunisia and from there spread to various countries in the region. Millions gathered in the streets united by their demand for more democracy, rights and participation in the political process. In most cases the reaction of the governing dictators were relentless and severe towards every form of protests. Violence in the streets of Cairo, Tunis and Bengasi escalated and resulted in the overthrow of the governments in Tunisia, Egypt and Lybia. A year later a group of female singers and musicians from Tunisia (Nawel Ben Kraiem, Badiaa Bouhrizi, Medusa, Houwaida), Libya (Nada) and Egypt (Donia Massoud, Maryam Saleh, Youssra El Hawary) met in Mohsen Matri Studio in Tunis to sing- against corruption, despotism, patronization and narrow-mindedness. The song with Syrian artist Rasha Rizk was recorded some months later in her political asylum in Cairo. Sudanese/American producer Oddisee and Olof Dreijer from the Swedish pop duo The Knife joined the session, participating in the creation of the musical backdrop as well as the often multi-instrumentalist female singers.

For the vinyl edition producers such as Brenk, Blackjoy and Blundetto contributed remix versions of the project. At the time and still today especially musicians and especially women were and are trapped in a spiral of repression, discrimination and violence. "Sawtuha" (Arabic for "her voice"), the album that is the product of the 2-week session, is a vital encouraging testament of rebellion against the repression of democratic rights, gender inequality, and lack of inclusion. The music is an organic mixture of traditional Arabic music, regional influences and various forms of contemporary Western musical genres. A mixture that may sound contradicting at first but makes total sense once you listen to the music. The studio session was organized by the Berlin based NGO MICT (Media In Cooperation And Transition) and was funded by the German Federal Foreign Office. "The free spirit refuses oppression - only fear can kill the spirit" (Badiaa Bouhrizi)

A beautiful reissue of this wonderful album by Amadou Balake. Original artwork and remastered tracks. Tip!
Hailing from remote Burkina Faso, Amadou Ballaké stands as one of Africa's most mesmerizing voices. He has achieved an amazing musical heritage with many albums and singles released along his long career, which started in the early 1960's.

In 1978, four years after the first recorded single version of Bar Konon Mousso, Ballaké covered that song once again, in a harder funk mode. Named Super Bar Konon Mousso, it was an updated version of the song which made him famous in his home country. This song is a masterful ode to the penniless musicians and the night ladies from African nights. It's faster than the more atmospheric original version and it fitted perfectly to the more urbane moods of that era.

Tondibama is a traditional warba song with cheerful horns arrangements and some light backing vocals. A percussionist in his own right, Ballaké let loose and displayed some effortless vocal acrobatics. Nabacouboury is another warba number that Ballaké sung many times over in his long career. Dounignamou circles on and on as if one was to assist a village dance. The trumpet plays the role of lead vocal at the end of the song while the rhythm section cooks up a sturdy instrumental background.

With some hint of machismo, Aminata, du thé! is one of the most powerful funk numbers to come from 1970's Africa. A true dynamite song, it leaves no doubt as to where his influences come from. Deep and hypnotic, from his moans and groans introducing the song, Ballaké stood here at his most James Brown-like, an inspiration with whom he was to have a NYC airport encounter in the 1980s. It's all about sweat, power and sincerity. Ballaké ya Mariama displays Ballaké's most romantic sides. With obvious afro-latin influences Ballaké sings about the grace of women and the way they move their hips while walking. A true salsero in his own right, Ballaké learnt his afro-cubanisms all across West Africa. It comes as no surprise that he later emerged as a world-class salsero, as one of the main voices within Africando.

Moving and working between Abidjan, Paris and New York between the late 1970s and early 1980s, Ballaké produced this classic album before moving back to Ouagadougou in the late 1980s, where he still performs on a weekly basis to this day.

Greatest Christmas successes selected and gathered in an extraordinary compilation! A succession of historical songs like "Everytime You Go Away" by Paul Young, "White Christmas" by Michael Bolton, "Jingle Bells" by Boney M, which alternate with the hits of today as "Happy" by Pharrell Williams and "Let it snow "Mario Biondi to please all generations in a time of year when the whole family gathered in front of the fireplace with the stereo on and the Christmas songs that cheer this important holiday.

01. PHARRELL WILLIAMS - Happy (From Despicable Me 2)
02. WHAM! - Last Christmas (Single Version)
03. THOMAS - Stay With Me
04. MICHAEL BOLTON - White Christmas (Album Version)
05. SPANDAU BALLET - Through The Barricades
06. BONEY M. - Jingle Bells
07. R. KELLY - I Believe I Can Fly (Radio Edit)
08. BROS - Silent Night
09. CELINE DION - My Heart Will Go On
10. CYNDI LAUPER - Time After Time
11. BRITNEY SPEARS - My Only Wish (This Year)
12. MIDGE URE - Breathe (Radio Edit)
13. PAUL YOUNG - Everytime You Go Away
14. WHITNEY HOUSTON - The First Nöel
15. TONY BENNETT - The Very Thought Of You
16. LA VIEW - Everything (Original)
17. MARIO BIONDI - Let It Snow
18. BARRY MANILOW - Can'T Smile Without You
19. ANDREA MINGARDI - Auguri Auguri Auguri
20. ALICIA - A Natale Puoi

Having had their music described as 'British reggae at its best' by none other than the UK's international ambassador for the genre, David Rodigan MBE, and having blazed a trail across the country with their exuberant and powerful live show, Resonators return with the final single to be taken from their highly acclaimed second album, 'The Constant'.

Try Again' has always been one of the big crowd pleasers from the record - an optimistic, summery delight, reminiscent in tone to the single that started things off for this brilliant dub outfit, 'Sweet Love Affair', a couple of years ago now. Produced by the legendary Nick Manasseh it comes complete with a stunning dub from the man himself, perfect for those late night festival moments, of which we're sure there will be plenty this summer.

Since the end of the 90s Laurent Jeanneau aka Kink Gong has been recording the music of mostly endangered minorities of South East Asia. Alongside his relentless pursue of remote exotic and unpublished musical traditions, he also creates electronic versions by combining raw recordings with natural sounds, archive material and electronically treated sounds. For Gongs, Laurent returns to his soundscape approach not heard since the Xinjiang LP (2011) and further develops his unique re-versions around the extensive Gong orchestra recordings he made on location in the remote regions of Cambodia & Laos. Over the years Jeanneau has become an expert of Gong orchestras of South East Asia, releasing in 2014 a double LP highlighting the different tonalities and resonances inherent to this kind of animistic ceremonies of the Asian Sub Continent (Gongs of Cambodia, Kink Gong recs, 2014). The compositions on this LP deform, re-assemble and distort said recordings. They contain unedited acoustic recordings, computer modified parts, sound collages and acoustic recordings of people and instruments. All tracks were recorded on location and re-arranged by Laurent Jeanneau in Dali, Paris & Berlin. Vinyl pressing to 500 copies // Mastered & Cut at Dubplate @ Mastering by Rashad Becker //

Open-hearted, fresh, lovely, bumptious recordings of women's singing, from a village in southwest Kenya. 'Dodo' is a type of traditional Luo music mostly used for entertainment at weddings, drinking parties and wrestling festivals. Songs in praise of the happy couple, and the best wrestlers. Ogoya Nengo was born in 1943. Her vocal abilities were discovered when she was herding cattle, as she never attended school, though nowadays her professional name signals both the Magoya clan of her birth and — 'nengo' meaning 'price' in Luo — the fees she commands as the most expensive Dodo performer on the circuit.

Debut album from this incredible Spanish all star band who create beautiful early reggae that harkens back to the improvised Jamaican jazz guitar work of ERNEST RANGLIN. Keyboards are straight up JACKIE MITTOO Studio 1 stylee, 11 instrumental cuts straight out of the 70s. Blue vinyl ltd 250

Orquesta La Moderna, The Modern Orchestra. The name plainly states the band's intention to champion the new sound and culture that was exploding in Nueva York at the time. The origins of the band also speak to the reality of the times. As these first generation Nuyoricans were listening to the soul, rock, and jazz joints that were dominating their neighborhoods, they were also soaking in the sounds that were blasting from their parents' turntables. Moderna married the sounds of rock, guaguanco and bomba, a potent trio of influence that spawned their classic debut, originally released in the early '70s on Amaral Records, the infamous and collectible Brooklyn label that was also responsible for Dax Pacem Orchestra.

The Planet of Brooklyn was formidable when it came to the salsa game, from influential originators like Ray Barretto and Richie Ray to underground legends like the aforementioned Dax Pacem and the Brooklyn Sounds. Orquesta La Moderna was a perfect fit within the controlled chaos of that Brooklyn style.

Lifted off of their debut album, remastered and presented on 7" for the first time, the A-Side "La Oportunidad" begins with a piano riff and a musical exhale from one of the band members who then introduces the band's name. Take notice, as the percussion kicks in and the trombones start yelling, it's clear: the band has arrived....and the sound is here to stay. Nuyorican guaguanco at its purest and finest.

The second title, "Picadillo," is a descarga composed and made famous by the legendary timbalero Tito Puente. Moderna takes this timeless classic from the club all the way home to the 'hood and infuses it with a wild energy that transports you from Los Sures through Bushwick all the way to East New York and back onto the dance floor.

Crucial recordings of the early 60's multifaceted Jamaican Music. Funny and sharp, with the catchiest tunes: this is foundation music to move your feet! Calypsos Down Jamaica Way is the significant piece to discover howJamaican music was created by the fusion of the Jamaican indigenous Mento and popular Calypso.

The album starts off with the moody instrumental tune 'Good Bye to Rome' which is perfectly harmonized by the excellent performances of Sugar Belly's bamboo sax and Charlie Organaire's harmonica and banjo. The flute freely plays to a pure Mento beat on the next number 'Go Fife Go'. The love song 'Yours' follows and Count Owen sings smoothly on 'Lawd Some Men Could A Smart' to close the A-side.

'DJ Dolores is one of the great innovators of the Latin music scene.' - The Guardian



'Helder Aragao de Melo continues to approach his craft of constructing dance tracks with the focus and precision of a Swiss watchmaker.' - The Independent



'He's never left the Zumbi state of mind; he's merely expanded it beyond belief.' XLR8R



1) Abertura (Narradores de Javé)
2) Mulher Rendeira
3) O Amor Vai...
4) Amor Plástico e Barulho
5) Polka do CU
6) Álcool (Bolero filosófico)
7) Statie Dub
8) Subúrbio Soul
9) Azougue (remake)
10) O Rosto no Espelho
11) Setúbal

Soul Safari started as a blog to showcase the music of Africa with a strong emphasis on South Africa. Now in its 6th year, Soul Safari is proud to present the third volume of the compilation 'Township Jive & Kwela Jazz', a collection of rare gems originally released as shellac 78's in the period 1960-1965 in South Africa.
On this third volume the selection features the gorgeous close harmony vocal groups singing in the tradition of American R & B and doo wop. But always with that typical South African swing and sung in the Zulu or Xhosa languages. DJ Eddy de Clercq who initiated this compilation, also selected a few tunes that stand for the transition from early jive to mbanqaga, a most democratic vocal style characterized by the typical 'groaning', a form of call and answer between the male leader (groaner) and female singers. Mbanqaga would follow up jive as the popular vocal music from 1965 onwards.

Kwela jazz knew many variations in which the original instrument, the penny whistle was traded in for accordion, violin, even a melodica, an instrument that also became widely popular in Jamaica. Similarities with uptempo ska can be heard in tunes by Kid Ma Wrong Wrong and Bra Sello featured on this compilation. Again an exciting selection of rare recordings from the heyday of South African Jive & Kwela. Truly music treasures from a long gone past.

Soul Safari started as a blog to showcase the music of Africa with a strong emphasis on South Africa. Now in its 6th year, Soul Safari is proud to present the third volume of the compilation 'Township Jive & Kwela Jazz', a collection of rare gems originally released as shellac 78's in the period 1960-1965 in South Africa.
On this third volume the selection features the gorgeous close harmony vocal groups singing in the tradition of American R & B and doo wop. But always with that typical South African swing and sung in the Zulu or Xhosa languages. DJ Eddy de Clercq who initiated this compilation, also selected a few tunes that stand for the transition from early jive to mbanqaga, a most democratic vocal style characterized by the typical 'groaning', a form of call and answer between the male leader (groaner) and female singers. Mbanqaga would follow up jive as the popular vocal music from 1965 onwards.

Kwela jazz knew many variations in which the original instrument, the penny whistle was traded in for accordion, violin, even a melodica, an instrument that also became widely popular in Jamaica. Similarities with uptempo ska can be heard in tunes by Kid Ma Wrong Wrong and Bra Sello featured on this compilation. Again an exciting selection of rare recordings from the heyday of South African Jive & Kwela. Truly music treasures from a long gone past.

** THE VERY FIRST RELEASE IN OUR LATIN 45's SERIES **

A. Pete Rodriguez - I Like It Like That

Band leader, arranger and pianist Pete Rodriguez' 'I Like It Like That' is a well know, all time classic taken from the 1966 LP 'I Like It Like That (A Mi Me Gusta Asi)', also released on 7' in 1967, both on New York based Alegre Records, which was eventually sold to Fania Records.

'I Like It Like That' bizarrely ended up being used by Odeon Cinema's in the UK as their pre-trailer branding track...!

AA. Joe Bataan - Subway Joe

'Subway Joe' by Joe Bataan, a true Latin Soul classic, taken from the seminal album of the same name, released by Fania in 1968. Bataan was a very succesful pianist, singer and band leader born in New York.

Available on CD and LP - comes with Japanese obi-strip.

Missing masterpieces of the original Jamaican Ska. Recorded at the Federal Studio between 1964 to 1965 and released on Ken Khouri's Kentone label, this is another essential reissue from the Dub Store Records camp. Featuring The Maytals, The Techniques, Dobby Dobson, Eddie Perkins, Sneer-Towners, Stranger & Patsy, The X-Rays, Eric Morris and more.

Available on CD and LP - comes with Japanese obi-strip.

Missing masterpieces of the original Jamaican Ska. Recorded at the Federal Studio between 1964 to 1965 and released on Ken Khouri's Kentone label, this is another essential reissue from the Dub Store Records camp. Featuring The Maytals, The Techniques, Dobby Dobson, Eddie Perkins, Sneer-Towners, Stranger & Patsy, The X-Rays, Eric Morris and more.

This is the second internationally famous and sought after Afro Jazz LP by Mombasa. And like the first album already reissued by Sonorama in 2006, it was originally released in small amounts only and has completely vanished from markets and memories: Pulsating African rhythms with funk bass and heavy brass sounds. Stunning afro beat production that belongs to the best recordings in the genre. Essential and ultra hard to find album with tons of true killer afro funk breaks. wicked record for collectors and DJs, also described as the best 'stripped down Fela Kuti sound' ..

Mombasa 1976 was:
Lou Blackburn: Jamaica, 14 years U.S.A., there with Lionel Hampton, Duke Ellington, Count Basie, Quincy Jones a.o. Since 1971 in Berlin, with Kurt Edelhagen for SFB Radio and TV. In 1973, Lou founded Mombasa. Doug Lucas: Arkansas, teacher of music, in Europe since 1968. Sessions with J.J. Band, Barry White, George McCrae. Bob Reed: New York, started with Latin groups, in Europe since seven years, here with Wyoming Electric Jungle and Equinox. Don Ridgeway: San Francisco, in USA with People`s Choice, since four years in Europe, worked with Jimmy Smith, Fox Hunters. Alan Tatham: Montego Bay, Jamaica, since 14 years in Europe, studied music in Vienna, studio musician in London and Vienna.

Original producer H. Manfred Schmitz with his memories from 2006 about Lou Blackburn`s Mombasa band:

I started working as an artist promoter at german Electrola in 1970, responsible for radio/ tv promotion and later as a freelancer at WDR (Westdeutscher Rundfunk). Rudy Petri has been te boss of Edition Accord, a publishing department of EMI. In Rudy`s office, I met Lou Blackburn, a middle aged afro american with an exceptional headgear that I had not seen before. When he held out his hand to welcome me, I was feeling an unknown calmness and sovereignty from this tall man. His eyes were looking at me through metal-rimmed glasses in a friendly way. They looked so warm and I felt that he was looking at me with his heart.

'My band Mombasa and I, we are looking for somebody to produce an album with us. We wanna go on a european tour soon and would like to sell our music after the concerts. We also know what we want to achieve in the studio, everything is well rehearsed and we will not need much time for the recordings. We mainly need support for the logistic aspects and a good connection to a suitable distributor.' We already started our common work after 10 days: Edition Accord and my publishing company Many Music shared the cost and work for the production and we decided to record Mombasa in the Cornet Studio/ Cologne, that was equipped with a small but fine 8-track machine.

We needed two hours for the preliminaries of the recording process and focussed on the best adjustments for the rhythm group. From the beginning Lou had a very good connection to the sound engineer W. Sorger. While some of the musicians checked their instruments, others were decorating the recording room with african cloths, candles and even added incense cones to the prevailing mood. The band drew up like they did on stage, with the drums in the very back but with a visual contact to every band member. There was no real break within the recording session, only the ones for changing instruments and tuning them again. I got the impression they were giving one of their concerts!

We immediately felt a bubbling enthusiam. After the recording - there was only one! - Lou Blackburn came to the control desk and listened to everything that was recorded. We had only worked for three hours then. There was nothing to improve and so we began discussions about the final mix that was done with Lou alone. All in all the whole production only lasted one day. The first approach for a record label was successful too: From the first moment, Peter Springer of Intercord loved the product and wanted to release it on the german Intercord label 'Spiegelei' ('Fried Egg'). Lou also confirmed to buy a few thousand records for their european tour so that the contract was signed early.

Finally I can tell you that I was never carried away by such a positive energy before. I felt so much happiness with Mombasa, especially with Lou Blackburn, without being able to appreciate it properly. But I owe Lou and his fellows a debt of gratitude until today! I hesitated for a long time before releasing this claim from the geography of my recently discovered soul. But with this re-release of the first Mombasa recordings, we are on a way, that Lou would have gone with us.

From original liner notes of 'African Rhythms & Blues 2' (1976):

'My thanks first to the four marvelous musicians who made this record possible. Again thanks to president Ikeda for being. The energy and direction instilled in me through his guidance. Nam-Myoho-Renge-kyo.' (Lou Blackburn)

Original first LP release by the legendary Mombasa band: Deep Afro Funk & Jazz by Lou Blackburn and his group recorded 1975 in Germany - reissue of the essential and hard to find album on the label 'Spiegelei ', transferred from the master tapes, contains the most wanted DJ-spins 'Nairobi', 'Kenia' and 'Shango', comes with original cover artwork.